The Art of Fugue
The Art of Fugue (or The Art of the Fugue; German: Die Kunst der Fuge), BWV 1080, is an incomplete work of unspecified instrumentation by Johann Sebastian Bach (1685–1750). Written in the last decade of his life,The Art of Fugue is the culmination of Bach's experimentation with monothematic instrumental works. This work consists of 14 fugues and 4 canons, each using some variation of a single principal subject, and generally ordered to increase in complexity. "The governing idea of the work", as put by Bach specialistChristoph Wolff, "was anEXPLORATION in depth of the contrapuntal possibilities inherent in a single musical subject."[1] The word "contrapunctus" is often used for each fugue. Sources The earliest extant source of the work is an autograph manuscript[2] of the early 1740s, containing 12 fugues and 2 canons. This autograph is typically referred to by its call number of P200 in the Berlin State Library. Three manuscripts for pieces that appear in the revised edition were bundled with P200 at some point before its acquisition by the library. The revised version was published in May of 1751, slightly less than a year after Bach's death. In addition to changes in the order, notation, and material of pieces which appeared in the autograph; it contained 2 new fugues, 2 new canons, and 3 pieces of ostensibly spurious inclusion. A second edition was published in 1752, but differed only in its addition of a preface by Friedrich Wilhelm Marpurg. In spite of its revisions, the printed edition of 1751 contained a number of glaring editorialERRORS. The majority of these may be attributed to Bach's relatively sudden death in the midst of publication. Three pieces were included that do not to appear to have been part of Bach's intended order: an unrevised (and thus redundant) version of the second double fugue, Contrapunctus X; a two-keyboard arrangement[3] of the first mirror fugue, Contrapunctus XIII; and a chorale harmonization "Vor deinen Thron tret ich hiermit" ("Herewith I come before Thy Throne"), derived from BWV 668a, and noted in the introduction to the edition as a recompense for the work's incompleteness, having purportedly been dictated by Bach on his deathbed. The anomalous character of the published order and the Unfinished Fugue have engendered a wide variety of theories which attempt toRESTORE the work to that state originally intended by Bach. Structure The Art of Fugue is based on a single subject (https://www.wikiwand.com/en/File:KdF_Motiv2.mid play on piano (help·info) or https://www.wikiwand.com/en/File:KdFThema.mid play on organ (help·info)): https://upload.wikimedia.org/score/3/a/3alqo86acsu1lg4d8hrw2u09cq82crn/3alqo86a.midi which each canon and fugue employs in some variation. The work divides into seven groups, according to each piece's prevailing contrapuntal device; in both editions, these groups and their respective components are generally ordered to increase in complexity. In the order in which they occur in the printed edition of 1751 (without the aforementioned works of spurious inclusion), the groups, and their components are as follows. Simple fugues: :1. Contrapunctus I: 4-voice fugue on principal subject, https://www.wikiwand.com/en/File:KdF1.mid play principal subject (help·info) or https://www.wikiwand.com/en/File:The_Art_of_Fugue,_Contrapunctus_I.mid play whole contrapunctus (help·info) :2. Contrapunctus II: 4-voice fugue on principal subject, accompanied by a 'French' style dotted rhythm motif, https://www.wikiwand.com/en/File:KdF2.mid play principal subject (help·info) :3. Contrapunctus III: 4-voice fugue on principal subject in inversion, employing intense chromaticism, https://www.wikiwand.com/en/File:KdF3.mid play principal subject (help·info) :4. Contrapunctus IV: 4-voice fugue on principal subject in inversion, employing counter-subjects, https://www.wikiwand.com/en/File:KdF4.mid play principal subject (help·info) Counter-fugues, in which the subject is used simultaneously in regular, inverted, augmented, and diminished forms: :5. Contrapunctus V: Has many stretto entries, as do Contrapuncti VI and VII, https://www.wikiwand.com/en/File:Kdf5.mid play principal subject (help·info) :6. Contrapunctus VI, a 4 in Stylo Francese: This adds both forms of the theme in diminution,[4] (halving note lengths), with little rising and descending clusters of semiquavers in one voice answered or punctuated by similar groups in demisemiquavers in another, against sustained notes in the accompanying voices. The dotted rhythm, enhanced by these little rising and descending groups, suggests what is called "French style" in Bach's day, hence the name Stylo Francese.[5] https://www.wikiwand.com/en/File:Kdf6.mid play principal subject (help·info) :7. Contrapunctus VII, a 4 per Augmentationem et Diminutionem: Uses augmented (doubling all note lengths) and diminished versions of the main subject and its inversion. Double and triple fugues, employing two and three subjects respectively: :8. Contrapunctus VIII, a 3: Triple fugue, with three subjects, having independent expositions, https://www.wikiwand.com/en/File:KdF8.mid play principal subject (help·info) :9. Contrapunctus IX, a 4 alla Duodecima: Double fugue, with two subjects occurring dependently, and in invertible counterpoint at the 12th, https://www.wikiwand.com/en/File:KdF9.mid play principal subject (help·info) :10. Contrapunctus X, a 4 alla Decima: Double fugue, with two subjects occurring dependently, and in invertible counterpoint at the 10th, https://www.wikiwand.com/en/File:KdF10.mid play principal subject (help·info) :11. Contrapunctus XI, a 4: Triple fugue, employing the three subjects of Contrapunctus VIII in inversion, https://www.wikiwand.com/en/File:KdF11.mid play subject (help·info) Mirror fugues, in which a piece is notated once and then with voices and counterpoint completely inverted, without violating contrapuntal rules or musicality: :12. Contrapunctus XII, a 4 :13. Contrapunctus XIII, a 3 Canons, labeled by interval and technique: :14. Canon per Augmentationem in Contrario Motu: Canon in which the following voice is both inverted and augmented. :15. Canon alla Ottava: Canon in imitation at the octave :16. Canon alla Decima in Contrapunto alla Terza: Canon in imitation at the tenth :17. Canon alla Duodecima in Contrapunto alla Quinta: Canon in imitation at the twelfth The Unfinished Fugue: :18. Fuga a 3 Soggetti (Contrapunctus XIV): 4-voice triple fugue (not completed, but likely to have become a quadruple fugue: see below), the third subject of which is based on the BACH motif, B♭ – A – C – B♮ ('H' in German letter notation). https://www.wikiwand.com/en/File:Motiv.bach.mid play motif (help·info). Instrumentation Both editions of the Art of Fugue are written in open score, where each voice is written on its own staff. This has led some to conclude[6] that the Art of Fugue''was intended as an intellectual exercise, meant to be studied more than heard. The renowned keyboardist and musicologist Gustav Leonhardt,[7] argued that the ''Art of Fugue was probably intended to be played on a keyboard instrument (and specifically the harpsichord).[8] Leonhardt's arguments included the following:[7] #It was common practice in the 17th and early 18th centuries to publish keyboard pieces in open score, especially those that are contrapuntally complex. Examples include Frescobaldi's Fiori musicali (1635), Samuel Scheidt's Tabulatura Nova (1624), works by Johann Jakob Froberger (1616–1667), Franz Anton Maichelbeck (de) (1702–1750), and others. #The range of none of the ensemble or orchestral instruments of the period corresponds to any of the ranges of the voices in The Art of Fugue. Furthermore, none of the melodic shapes that characterize Bach's ensemble writing are found in the work, and there is no basso continuo. #The fugue types used are reminiscent of the types in The Well-Tempered Clavier, rather than Bach's ensemble fugues; Leonhardt also shows an "optical" resemblance between the fugues of the two collections, and points out other stylistic similarities between them. #Finally, since the bass voice in The Art of Fugue occasionally rises above the tenor, and the tenor becomes the "real" bass, Leonhardt deduces that the bass part was not meant to be doubled at 16-foot pitch, thus eliminating the pipe organ as the intended instrument, leaving the harpsichord as the most logical choice. However, opponents of Leonhardt's theory such as Reinhard Goebel argue that: #The Art of Fugue is not completely playable on a keyboard. Contrapunctus XII and XIII, for instance, cannot be played on a single keyboard without making awkward jumps or neglecting the main theme, especially on the keyboard instruments of Bach's day, such as the harpsichord or the early pianoforte, both of which lacked a sustain pedal. This is something Bach would never have allowed to happen. #The absence of the basso continuo is only logical since a fugue for string quartet wouldn't have one by default. There is also the possibility that The Art of Fugue was not intended for one single (type of) instrument, but instead for whatever instruments were at hand. This in hypothesis is given weight by the modern recording and concert history of the work: it is variously performed by string quartets, wind quartets, solo keyboardists, and orchestras. The Unfinished Fugue The final page of Contrapunctus XIV A handwritten manuscript of the piece known as the Unfinished Fugue is among the three bundled with the autograph manuscript P200. It breaks off abruptly in the middle of its third section, with an only partially written measure 239. This autograph carries a note in the handwriting of Carl Philipp Emanuel Bach, stating "Über dieser Fuge, wo der Name B A C H im Contrasubject angebracht worden, ist der Verfasser gestorben." ("At the point where the composer introduces the name BACH which the English notation would be B♭–A–C–B♮ in the countersubject to this fugue, the composer died.") ThisACCOUNT is disputed by modern scholars, as the manuscript is clearly written in Bach's own hand, and thus dates to a time before his deteriorating health and vision would have prevented his ability to write, probably 1748–1749.[9] Many scholars, including Gustav Nottebohm (1881), Wolff and Davitt Moroney, have argued that the piece was intended to be a quadruple fugue, with the opening theme of Contrapunctus I to be introduced as the fourth subject. The title Fuga a 3 soggetti, in Italian rather than Latin, was not given by the composer but by CPE Bach, and Bach's obituary actually makes mention of "a draft for a fugue that was to contain four themes in four voices". The combination of all four themes would bring the entire work to a fitting climax. Wolff also suspected that Bach might have finished the fugue on a lost page, called "fragment X", on which the composer attempted to work out the counterpoint between the four subjects. A number of musicians and musicologists have composed conjectural completions of Contrapunctus XIV, notably Boëly, music theoretician Hugo Riemann, musicologists Donald Tovey and Zoltán Göncz, organists Helmut Walcha, David Goode and Lionel Rogg, and Davitt Moroney. Ferruccio Busoni's Fantasia contrappuntistica is based on Contrapunctus XIV, but is more a work by Busoni than by Bach. In 2001 Luciano Berio completed the contrapunctus for orchestra.[citation needed] In 2007, New Zealand organist and conductor Indra Hughes completed a doctoral thesis about the unfinished ending of Contrapunctus XIV, proposing that the work was left unfinished not because Bach died, but as a deliberate choice by Bach to encourage independent efforts at a completion.[10][11] Douglas Hofstadter's book Gödel, Escher, Bach discusses the unfinished fugue and Bach's supposed death during composition as a tongue-in-cheek illustration of Austrian logician Kurt Gödel's first incompleteness theorem. According to Gödel, the very power of a "sufficiently powerful" formal mathematical system can beEXPLOITED to "undermine" the system, by leading to statements that assert such things as "I cannot be proven in this system". In Hofstadter's discussion, Bach's great compositional talent is used as a metaphor for a "sufficiently powerful" formal system; however, Bach's insertion of his own name "in code" into the fugue is not, even metaphorically, a case of Gödelian self-reference; and Bach's failure to finish his self-referential fugue serves as a metaphor for the unprovability of the Gödelian assertion, and thus for the incompleteness of the formal system. Notable recordings This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged andREMOVED. (October 2014) Harpsichord *Gustav Leonhardt (1953, 1969) *Isolde Ahlgrimm (1953, 1967) *Davitt Moroney (1985)[12] *Ton Koopman with Tini Mathot (1994), on two harpsichords *Bradley Brookshire (2007) includes an additional CD-ROM with score to follow along as MP3s play *Gösta Funck (2007), on a harpsichord by Matthias Kramer, 1990, after Christian Zell, 1728 *Matteo Messori (2008) alternating three harpsichords (after Taskin, Harrass and Hildebrandt) *Lorenzo Ghielmi on a Silbermann piano and harpsichord with Vittorio Ghielmi and "Il Suonar Parlante" viols quartet (2009) Organ *Helmut Walcha (1956, 1970)[12] *Glenn Gould (1962) incomplete[13] *Lionel Rogg (1970)[14] *Marie-Claire Alain (1974, Rotterdam) *Wolfgang Rübsam (1992) *Marie-Claire Alain (1993) *Sergei Dijour (1993) on the Schuke organ of the Small Hall of the Moscow State Tschaikovsky Conservatoire *Louis Thiry (1993) on the Silbermann organ of St. Thomas, Strasbourg *Herbert Tachezi (de) (1996) on the Jürgen Ahrend and Gerhard Brunzema (de) organ in St. Johann (Oberneuland) (de), Bremen *André Isoir (1999)[15] Some movements performed as a duet with Pierre Farago, on the Grenzing organ of Saint-Cyprien in Périgord, France *Hans Fagius (2000) on the Carsten Lund organ of Garnisons Church Copenhagen, Denmark *Kevin Bowyer (2001) on the Marcussen organ of Saint Hans Church, Odense, Denmark *Régis Allard (2007) *George Ritchie (2010) on the Richards, Fowkes & Co organ of Pinnacle Presbyterian Church in Scottsdale, Arizona. This recording includes as aBONUStrack an alternative take of the final unfinished fugue with the completion by Helmut Walcha. *Joan Lippincott (2012) Piano *Richard Buhlig and Wesley Kuhnle (1934) *Glenn Gould incomplete[13] *Charles Rosen (1967) *Grigory Sokolov (1982) *Zoltán Kocsis (1984) *Yūji Takahashi (1988) *Evgeni Koroliov (1991) *Tatiana Nikolayeva (1992) *Joanna MacGregor (1996) *Pierre-Laurent Aimard (2008) *Zhu Xiao-Mei (2014)[16] *Angela Hewitt (2014) String quartet *Quartetto Italiano (1985)[17] *Juilliard String Quartet (1989) *Emerson String Quartet (2003) *Vittorio Ghielmi and "Il Suonar Parlante" viols quartet (2009) with Lorenzo Ghielmi on a Silbermann piano and harpsichord Orchestra *Arthur Winograd by Winograd tring Orchestra (ca 1952) *Hermann Scherchen with Orchestre de la RTSI (1965)[18] *Karl Ristenpart with Chamber Orchestra of the Saar (1965) *Karl Münchinger and Stuttgart Chamber Orchestra (1965) *Neville Marriner with Academy of St Martin in the Fields (1974) *Jordi Savall with Hesperion XX (1986) *Erich Bergel with Cluj Philharmonic Orchestra (1991)[12] *Rinaldo Alessandrini and Concerto Italiano (1998) *Stuttgart Chamber Orchestra (2002) Other *Milan Munclinger with Ars Rediviva (1959, 1966, 1979) *Fine Arts String Quartet and New York Woodwind Quintet (1962) *Yūji Takahashi (incomplete) electronic version (1975) *Musica Antiqua Köln (director Reinhard Goebel) for string quartet/harpsichord and various such instrumental combinations (1984) *Canadian Brass for brass quintet (1990) *Amsterdam Loeki Stardust Quartet for recorder quartet (1998) *Phantasm (director: Laurence Dreyfus) for viola da gamba four-part consort (1998) *Pittsburgh Symphony Brass (1998) *Fretwork for Consort of Viols (2002) *József Eötvös for two eight-string guitars (2002) *An electronic version, Laibachkunstderfuge, by Neue Slowenische Kunst industrial band Laibach (2008) Category:1962 albums